Renato Corporation Investing in Pic-See's Unique Digital Image Processing Technology

Renato Corporation will provide an initial capital investment into Pic-See's 3D Digital Stereoscopic Imaging Technology. After completing a thorough due diligence process, Renato Corporation is confident the investment into this dynamic patented technology will bring solid economic return on this investment.

Pic-See has developed a unique patented digital image processing technology that converts two dimensional (2D) images into true three dimensional (3D) stereoscopic images. Pic-See's system, LOLA (Lenticular Online Assembly), enables high quality stereo still or streaming 3D images that can be rendered using conventional printing and display mediums.

Pic-See currently processes images for Ophthalmology clinics and doctors around the United States. However, Pic-See's patented system is not limited to Ophthalmology, it can process images for a variety of different x-rays such as MRIs, CT Scans and Ultrasounds. The investment plans remain on schedule and we are very excited about this opportunity. We hope to continue our business relationship with Pic-See with additional investment in the future.

Source: MarketWatch

Telestream Takes Episode Desktop Encoding Cross-Platform

Telestream announced that its highly recognized Episode Series desktop media encoding products have expanded to offer cross-platform compatibility. With new support for both Windows and Mac OS X operating systems, Telestream’s Episode and Episode Pro applications encode media to virtually every video and audio file format, offering ultimate encoding flexibility in a single software package. Users and organizations no longer need to learn and support multiple encoding tools for multiple projects. Episode provides a complete encoding toolset for novices and experts alike. Known for its speed, quality and ease of use, Episode simplifies content repurposing for distribution to the growing number of digital media channels such as Web, DVD, IPTV, mobile phones and portable devices.

In addition to cross-platform compatibility, Telestream announced the addition of watch folders for Episode desktop products. This feature enables users to simply drop finished projects into folders for automatic encoding, which saves both time and effort. These are the latest major additions in Telestream’s continually expanding Episode encoding workflow solutions.

Episode desktop encoders are available in two versions. Episode ($495) imports virtually any file format, including broadcast and professional formats and encodes media to all major Web, DVD authoring, mobile and portable device formats, including Flash 8/9, Windows Media, QuickTime, H.264, VC-1, 3GPP, MPEG-1/2/4 and more. Episode Pro ($995) includes all of the same features and formats plus encoding to high-end broadcast and professional formats such as GXF, MXF, High Profile DVCPRO HD, mobile multi-bit rate and more.

Source: Telestream

AmberFin Launches iCR 4.0

AmberFin iCR 4.0 includes reliable SD/HD ingest, optimized for open storage servers, with integrated review and quality control. Its repurposing module has been enhanced to enable it to reduce the equivalent quality file size by as much as 25% alongside cut-and-splice versioning tools, network rendering capabilities and best-in-class video processing and conversion.

It also offers increased interoperability with Apple Final Cut Pro and Avid editing systems, addressing the compatibility challenges faced by content owners today.

Other key features and benefits of iCR 4.0 include:
- Best Compression Performance on the Market

- A new "Pixel Adaptive" conversion technique that transforms any type of content to progressive pictures, providing breakthrough improvements in perceived quality and significant bit rate reduction

- Automated distribution and load balancing of repurposing tasks on a network of iCR systems, resulting in shorter rendering times and optimal usage of computing resources

- Enhanced job tracking, logging and error handling

- Enhanced MXF Cutting and Splicing

- Ability to extract one or multiple segments of MXF files to perform partial extraction or clip segmentation

- Functionality to splice and merge multiple clips to create new versions such as commercial extractions or insertions

- Centralized Apple QuickTime and Final Cut Pro Workgroup Capabilities

- Exceptional support for Apple QuickTime and Final Cut Pro workflows, providing dependable SD/HD ingest, review, quality control, conversion and repurposing operations for workgroup environments based on central server systems such as Storage Area Network (SAN) or Network Attached Storage (NAS)

- Enhanced Avid Interoperability

- New streamlined Avid workflow to ingest and repurpose Avid-compatible SD/HD content that can then be imported into Avid edit systems

- Extended Standard and High-Definition P2 and XDCAM Support

- Complete end-to-end workflows to import, ingest, review, quality control, convert and repurpose SD/HD formats of Panasonic P2 and Sony XDCAM files allowing seamless conversion and interoperability between production and post-production systems

- Support for the latest full resolution XDCAM EX and HD422 formats

Source: The EarthTimes

Sony EX3 in Stereo 3D Mirror Rig

Two new programs on the Reel Show Hardware Channel see the Sony EX3 camera being reviewed after a shoot in South Africa, before being placed with another EX3 in the P+S Technik 3D Stereo mirror rig.

Ralston Humble took two of the cameras out to South Africa in August. In the first 15-minute program (EX3 Review), he details his experiences, running through the camera's facilities and outlining how it performed.

He is then joined by 3D producer Phil Streather, the man behind Bugs 3D among others, for a second program, in which they place the cameras in the new mirror rig and discuss different techniques for shooting and posting stereo 3D, as well as explaining the merits of mirror rigs as opposed to parallel rigs.

Can Hollywood Bring 3DTV Home?

An interesting article by Rick Merritt, Electronic Engineering Times.

Nippon BS, Olympus Visual Team on 3D Broadcasting

Olympus Visual Communications Corp (OVC) and Nippon BS Broadcasting Corp reached an agreement to collaborate in promoting the diffusion of 3D video broadcasts and 3D video content. OVM is engaged in developing three-dimension (3D) video-related technologies, and Nippon BS is a BS digital broadcast operator.

As the first effort of their collaboration, Nippon BS will start airing 3D video content produced using OVC's proprietary 3D video technology in its program "Refresh 3D" from Oct 4, 2008. This content stretches the ciliary muscle of eyes by making viewers trace an object that appears to be projecting out of the screen with their eyes.

The two companies will also team for commercials to be aired during the TV program. Nippon BS will market the installments of broadcast time for commercials that will use 3D video. OVC will produce 3D computer graphics to be used in the commercials. OVC will broadcast a commercial using 3D video produced in-house as the first commercial of this kind.

OVC develops technologies and products concerning 3D video playback. For example, it creates 3D video content for specific purposes using its proprietary "Olympus Power3D" video technology. Also, it develops software and optical glasses for 3D video playback on a PC. Nippon BS, on the other hand, uses 3D video in the programs it broadcasts.

More information
US Patent 7404639 - Apparatus for recovering eyesight utilizing stereoscopic video and method for displaying stereoscopic video

By Yukiko Kanou, Nikkei Electronics

Philips Shows 3D over Existing Infrastructures with 3D IPTV, 3D VoD and 3D Blu-ray

Each of the three demos will show how the company’s 2D-plus-Depth content format can be distributed easily over existing content distribution infrastructures and play-out devices, enabling a great 3D movie viewing experience on a variety of 3D displays in the home.

First off, Philips will show a technology demonstration of 3D on Blu-ray Disc, where its content format is applied to Blu-ray to bring high quality 3D content to the home, as shown last week at the IFA Berlin.

Secondly, in cooperation with the leading telecommunications operator Telefónica, the 3D IPTV technology demonstration will show 3D Video on Demand over an IP infrastructure. Imagenio is the TV platform which Telefónica uses to deliver TV by IP and ADSL in Spain, Czech Republic, Chile and Brazil, providing straightforward TV channels, VoD, and interactive services to 700000 subscribed users.

Raúl Ortega del Rio, Director of Telefónica Research & Development: “The Imagenio 3D IPTV VoD demonstration is the first worldwide experience that provides 3D TV, without the need for viewing glasses, integrated in a standard IPTV solution, and supported by a standard network. A key novelty is that the solution devised only takes up 15 percent more bandwidth. Unlike other systems which utilize 100 percent more bandwidth.” Obviously, 3D displays are needed to experience the 3D effects.

Thirdly, Philips will show 3D VoD using the eventIS metadata system on the booth of this leading Dutch metadata management software solution company.

Philips 3D Solutions provides end-to-end 3D system solutions ranging from 3D displays for professional use, 3D content creation and conversion tools to technology licensing. Jos Swillens, CEO of Philips 3D Solutions: “Easy distribution of 3D content over existing infrastructures will be the key factor for the success of 3DTV. Our demos at IBC 2008 prove the flexibility and efficiency of our 2D-plus-Depth content format that will eventually enable 3D viewing in people’s homes.”

Source: BroadcastBuyer

Mitsubishi Announces Laser TV Pricing

Mitsubishi Digital Electronics America said late Monday that its first laser TV will begin shipping at the end of the third quarter in the United States. The 65-inch LaserVue will retail for $6,999 at the end of the third quarter through authorized retailers, the company said. A 75-inch version is also expected this fall, although Mitsubishi did not announce it.

Mitsubishi is believed to be working with Novalux, the manufacturer of the core laser technology. In today's existing rear-projection TVs, light from a mercury lamp located in the rear section of the unit is split up into red, blue and green to create the images on the front screen. In lieu of white-light mercury lamps, a laser TV uses red, blue and green lasers to generate those images; only the laser produces much brighter and deeper colors.

Furthermore, they use about a third of the power of conventional, large-screen displays that typically rely on high-powered lamps, according to Novalux. Mitsubishi confirmed this, claiming that the LaserVue would require half the operating power consumption of similar-sized LCD TVs, and a third that of plasma HDTVs.

LaserVue TVs also come equipped with 3D-ready viewing technology, Mitsubishi said. Still, the technology obviously comes at a premium. A 65-inch LCD from Sharp was priced at $4,000 at press time.

By Mark Hachman, PC Magazine

SAMMA to Demonstrate New Capabilities at IBC2008

SAMMA Systems will be demonstrating three new capabilities at the IBC2008. This is good news for anyone with a need to migrate videotapes to digital files for archiving and for reuse in multiple revenue-producing formats.

The SAMMA Robot and SAMMA Solo have both been updated to version 2.0 and can now deliver streamlined workflow by offering additional simultaneous file outputs. Additionally, easy preset settings of common file types are now standard on both the Robot and the Solo, insuring instant setup of encoding. Separately, SAMMA Systems has also developed new capabilities to archive high definition (HD) video content and upconvert standard definition (SD) video to HD when migrating videotapes to digital files.

SME – powerful new encoder
The enabling breakthrough for the version 2.0 Robot and Solo is the SME – SAMMA Multicoder a powerful new encoder. The SME enables additional formats, including MPEG-1/2/4, AVC, Flash, IMX D10, Uncompressed and Windows Media, and can encode multiple streams simultaneously per videotape channel, with metadata included. The SME also has MXF, AVI and QuickTime file wrapping capabilities.

“The SME enables eight more formats with which to generate simultaneous files, at a 35% lower cost than the previous encoder,” said Mark Gray, CEO of SAMMA Systems. “Broadcasters will agree that this is a dramatic improvement in value.”

To simplify and speed up what could be a complex archiving process, SAMMA has incorporated six NTSC and six PAL presets into its encoders. By using a preset, an operator can select a “bundle” of formats and set up parameters to accomplish a given archiving task. Each preset will pick up the designated formats and relevant configurations, producing multiple output files in a single operation. The operator only has to press START to begin the migration.

Preset lineup
The NTSC presets are as follows (with a variety of working and proxy formats included with each preset), Lossless J2K Archive for lossless archiving, Uncompressed 4:2:2 AVI Archive for broadcast (Avid), Uncompressed 4:2:2 MOV Archive for broadcast (Final Cut Pro), IMX Archive for broadcast (Sony, MPEG 4:2:2 50 Mbps Archive for broadcast and MPEG 4:2:2 15 Mbps for storage applications.

Upgraded audio, watermarking and more
Other improvements in version 2.0 Robot and Solo include 7 band audio EQ and compression; watermarking and animated logo capability on any of the encoded files; image cropping and motion adaptive de-interlacing; and source time capability for better editing and searching capability of the digitized files after conversion.

Better manageability, continued reliability and access
The new version 2.0 Robot has greatly improved manageability. Its server and database is centralized for continued reliability and access from any number of robots or solos in the event of an interruption or failure. The database also facilitates easy importation of CSV files and is now sort-and-search capable. A new user-friendly context menu allows easy additions or edits to imported tape records.

Interactive improvements to version 2.0 Robot include substantially reduced setup time, a shorter calibration cycle and a manual channel select capability that performs calibration cycles on non-fatal errors. If included in a Robot, SAMMA Clean now has a “non-fatal” override that ejects damaged “failed” tapes so that “passed” tape migrations continue. The result is a more efficient and improved workflow, with less downtime and greater overall throughput. Additionally, library status data can now be sorted and printed.

HD archiving and upconverting capability
In addition to presenting the new version 2.0 Robot and Solo at IBC2008, SAMMA will also be demonstrating its new HD archiving and upconverting capability. This capability is designed both to meet Europe’s new push to HD and to serve Hollywood and other content production centers who want to be able to archive their material in HD.

Source: BroadcastBuyer

RealD 3D and Christie Showcase Largest Single 3D Projection at IBC

RealD 3D, the world's leading digital 3D provider, announced that it will showcase its expanded digital 3D capabilities leveraging the superior technology of Christie's CP2000-XB projector, enabling digital 3D images to be projected using a single digital cinema projector on larger screens than previously possible. When combined with RealD XL technology, Christie CP2000-XB allows 3D cinema content to be projected brighter and clearer onto screens larger than any other digital 3D technology with a single projector, on screens greater than a width of 75'.

The two companies will use the projector to deliver the first-ever live transatlantic 3D broadcast, featuring an interview with Jeffrey Katzenberg, CEO of DreamWorks Animation SKG. Katzenberg will discuss the impact of 3D technology in theaters, the home and across other platforms. RealD technology will be used for the live 3D stereoscopic broadcast on the IBC big screen on Sunday evening, followed by a content showcase. RealD and Christie will serve as the principal 3D technology supporting Monday, September 15, digital cinema theme day.

Source: MarketWatch

Scrabble Entertainment to Set Up 200 Digital Screens

In less than six weeks, Scrabble Entertainment, the only Digital Cinema Initiative (DCI) compliant deployment entity in India, has installed digital cinema systems in 40 multiplex screens and the company plans to take this number to 200 screens by 2008-end.

DCI is a joint venture of major motion picture studios, aimed at establishing a standard architecture for digital cinema systems. By establishing a common set of content requirements, distributors, studios, exhibitors, d-cinema manufacturers and vendors can be assured of interoperability and compatibility. Because of the relationship of DCI with many of Hollywood's key studios, conformance to DCI's specifications is considered a requirement by software developers or equipment manufacturers targeting the digital cinema market.

Scrabble Entertainment acts as an intermediary between content owners including major studios and independent distributors and the exhibitor. Scrabble has signed up with many of India's top multiplex chains including PVR, Fame, INOX and Cinemax.

Under a virtual print fee (VPF) business model, Scrabble finances the exhibitors' transition to digital mode by collecting a negotiated virtual print fee from movie distributors. As part of the deployment plan, Scrabble plans to install 1,750 projectors over the next five years, at an average of 350 projectors per year.

Speaking to Televisionpoint.com, Ranjit Thakur, CEO, Scrabble Entertainment, says that the technology partners for the digital cinema roll out are Christie, a global leader in digital cinema projectors and Qube Cinema, a subsidiary of the Chennai based Real Image Media Technologies and Doremi for digital cinema servers.

While Christie has recently secured an exclusive contract with Scrabble to supply 200 Christie DLP Cinema projectors, Scrabble has chosen Qube Cinema's digital cinema servers for the digital cinema roll out in India.

Even before the DCI compliant digital cinema came into the picture, UFO Moviez had pioneered the digital revolution in cinema distribution and exhibition. Since UFO Moviez does not comply with DCI, there is a noticeable difference in the quality of video and audio. But what UFO offered was a unique business model to producers and exhibitors.

The company delivers the digital copies of the latest blockbusters to screens in tier-2 and tier-3 cities on the very day it opened in the metros thereby raising the box office mullah manifold and at the same time saving significantly on the cost of film prints. "We are the only company to deliver the digital content using the satellite service from Hughes Escorts Communications VSAT hub at Gurgaon," says Rajesh Mishra, CEO, UFO Moviez.

According to Mishra, the company has now 1,200 theatres with digital servers and projects. "We plan to increase the number of digital screens to 3,000 in the next two years," he adds.

The company installs the digital systems at their cost. The hardware and software cost Rs 12 lakh, while there is a refund of Rs 2 lakh per theatre. UFO charges a fee per show, and according to Mishra, it may range from Rs 75 to Rs 200 depending on the time of its release. This means the fee for a show in the opening week is higher than the subsequent weeks.

The list of theatres under UFO network shows that besides most of them being in tier-2 and tier-3 cities, all of them are in the B and C categories. Some industry experts do not see the UFO business model to be essentially digital as it does not provide the movie content in the highest digital standards and prefer to call it more as e-cinema than d-cinema.

By Bhavana Puljal, Televisionpoint

D-Link to Provide Network Backbone in Digital Cinema Rollout across Europe

D-Link has announced that Arts Alliance Media (AAM), one of Europe's leading providers of digital film distribution services, has selected D-Link to supply the network infrastructure for each of the digital cinemas being rolled-out by AAM. The agreement will enable existing cinemas across Europe to make the transition to fully digital cinemas, thus providing an optimised viewing experience for film-goers.

Working closely with its' distribution partner Azlan, a value-added distribution service of Tech Data Europe, D-Link will supply and support AAM on a pan-European basis as the network is deployed across 12 countries and an estimated 7,000 cinema screens over the next 3 years.

The network solution provided by D-Link includes its DGS-3627 24-port Layer3 Gigabit switches with 10Gbit/s interfaces, the DGS-3427 24-port Layer2 Gigabit switches and the DGS-3200-10 Layer2 Security Gigabit switches. The DGS-3427 and DGS-3627 form part of D-Link's xStack family of Gigabit switches that combine enterprise levels of performance and robust security with versatile management functions and scalable flexibility.

The DGS-3427 is used as a management switch, providing the main communications link between all screens and centralised equipment. This is supported at each screen by the DGS-3200-10. The Layer3 DGS-3627 switch is used for content management; rapidly distributing content to each screen via digital projection from the central library server, which is connected over a 10Gbit/s interface.

Source: TradingMarkets

First Stereo 3D Mirror Rig in the UK

3D film producer and consultant Phil Streather, of UK based PLF and Ralston Humble owner, of Pablo Post in Pinewood Studios have combined forces, under the banner PLF/Pablo Post, to provide stereo 3D consulting, production and post production services. The companies will be based out of Pablo Post’s base at renowned Pinewood Studios.

Aside from conducting the 3D Masterclass at IBC this year (11.30am to 1pm in room L Sunday 14th) Streather and Humble have bought a P+S Technik stereo 3D mirror rig, built from a design by French DOP and stereographer Alain Derobe. On to this mirror rig they have placed the fist two Sony EX3 HD cameras brought into the UK by technology provider CVP-Mitcorp, based in Brentford. 3D can either be recorded onto the onboard SxS cards for fast offline ingesting or a pair of Sony PDW-HD1500 VTRs. For the best results PLF/Pablo Post will record out to a Sony SRW-1 HDCAM SR recorder, in stereo mode, as supplied and supported by Rogue Elements films, also based at Pinewood Studios.

“I am delighted to partner with Phil,” says Humble. “He is the most experienced live action stereo 3D producer in the UK and recently I have completed work of a new version of his acclaimed IMAX 3D film Bugs!, here at Pablo Post. I have the Quantel Pablo 4K, with stereo 3D toolset and “converted” his film from IMAX 3D to Digital 3D. The new trailer for this new version will be seen at IBC, for the first time, at the 3D Showcase, after the live Jeffrey Katzenberg interview,” Humble added.

“Currently there are no other stereo 3D mirror rigs in the UK – ours is the first,” says Streather. “We have equipped it with a pair of Sony EX3s, which can produce full HD (suitable for 3D HDTV broadcast and 3D Digital Cinema) from the 10 bit HD SDI out, into a high end recorder – very exciting for such small and cost effective cameras. Primarily, we will produce product launches, high end corporates, 3D features and have already started building a stereo 3D archive.”

Phil Myers, Product Marketing Manager, XDCAM, Sony UK adds; “At Sony we always aim to help customers push the boundaries of broadcasting and 3D is an important future technology, which makes this a very exciting project to be involved in. Not only is it the first time that an EX3 has been used commercially in the UK, but also this is the first 3D project of its kind. From a product perspective, the EX3 delivers outstanding picture quality and it's the key features such as Timecode In and Genlock that meant it was the ideal choice for this type of production set up.”

PLF/Pablo Post offer its training, consulting and 3D production/post production services out of Pinewood Studios, England. PLF/Pablo Post training programmes are versions of the IBC Masterclass elements. Says Humble, “We are based at Pablo Post so we can plug the stereo 3D mirror rig directly into the Pablo and Christie CP 2000 and watch the images live on a 4.5 meter screen. We are able to shoot and get immediate feedback.” Streather adds, “We run our training and consultancy activities at a relatively high level, and aim at attracting top directors of photography, line producers, unit production managers – anyone who needs to know what this “dark art” of 3D is really about.”

Digital Cinema Deal Not Quite Done

The Wall Street Journal reported Monday that Universal and Disney had reached agreement with Digital Cinema Implementation Partners, the biggest exhib consortium without a studio deal for digital cinemas, on "virtual print fees" and financing for the conversion of thousands of additional screens. Such deals would be a big step toward installing the thousands of additional digital 3-D screens needed for 2009's parade of 3-D tentpoles.

But the story wasn't quite right.

While the WSJ article reported correctly that Disney had come to terms with the DCIP and Universal is close to a deal, it also reported that Paramount and Fox had previously come to terms with the DCIP. Fox was reported to strike a deal earlier this year and has never confirmed it. Paramount, however, denies it has an agreement, despite additional published reports that its pact was close to done.

The difference between Par being in or out on the deal is substantial: Once four studios have pacted with DCIP, studio funding for the conversion to digital projectors kicks in and installation of digital screens can begin. With Fox, Disney and Universal on board, Par would make four. But that fourth pact remains elusive, at least for now.

Given that digital projectors are a must for digital 3-D and that Fox has made a massive bet on James Cameron's 3-D Avatar, it's no surprise it got on board early. Par will be distributing DreamWorks Animation's Monsters vs. Aliens, so it too has a big bet on digital 3-D.

DCIP, which represents Regal Entertainment, Cinemark and AMC, consists of some 14,000 screens. It will not begin converting screens to digital until there is a "virtual print fee" deal in place with at least four studios. With only 1,200 digital 3-D screens in the U.S., both exhibitors and studios want to see more installed, and soon.

The consortium says it is negotiating with all six studios. All six will, eventually, have to come to some agreement with exhibitors on virtual print fees in order to reap the benefits of digital cinema.

The WSJ article also exaggerated the studios' cost savings from digital cinema. While d-cinema has many benefits for the majors, including reduced piracy, they insist they will save little money from not having to pay for prints, at least in the short term, because they'll be helping defray the expense of the exhibs' changeover to digital.

By David S. Cohen, Variety

New Avid Services Enable Third Parties to Easily Exchange Avid-Native Media

Avid Technology announced the availability of Avid Media Toolkit and Avid Interplay Web Services: a pair of developer packages that significantly increase the openness of Avid solutions to easily interface with third party applications.

Avid Media Toolkit
Avid Media Toolkit is a software development kit that will simplify the task of creating and accessing Avid-native media for third parties. For instance, developers will now have several options in addition to Avid Interplay Transfer for material ingest as a part of file-based workflows, which will greatly simplify the process of working with file-based media. Avid Media Toolkit automatically converts files to Avid native media files, making it easier for customers to access media from a variety of sources and applications. Customers will also be able easily move media from various Avid systems into other production environments such as graphics, audio or playout devices.

Key features of the new Avid Media Toolkit include:
- The ability to read and write Avid native MXF files together with associated AAF metadata.
- Improved media exchange with Interplay environments.

Formats supported in Avid Media Toolkit Version 1.0 include: IMX 30, IMX 40, IMX 50, DVCAM, DVCPro 25, DVCPro 50, DVCPro 100 and Avid DNxHD 120, 145, 185 and 220.

Avid Interplay Web Services
Avid Interplay Web services allows third party vendors to better manage assets in an Avid Interplay environment and helps to extend Interplay functionality outside the bounds of its built-in toolset. Avid has opened up the interface for third parties to seamlessly integrate Interplay features into their customized automated workflows, via XML. This functionality was previously only available using the Interplay Access application.

Additional new functionality includes:
- Folder navigation and listing
- Folder management
- Asset check-in and retrieval
- Metadata input and retrieval
- Searching
- Locator Management
- Sub-clip creation
- Headframe management

MOG Solutions, a developer of MXF technology, recently licensed Avid’s Web Services API to complete the development of its TOBOGGAN product. TOBOGGAN is designed to enable customers to ingest multiple resolutions of material, check-in metadata to the Avid Interplay system and turn third party EDLs into full-blown Avid sequences.

Avid Interplay Web services are based on SOAP 1.1 and are compatible with the most commonly used Web services frameworks such as Net 2.0 and Sun Metro for Java (JAX WS). Developers interested in obtaining a licensing agreement for Avid Web Services may do so by visiting: http://www.avid.com/thirdparty/developers/.

Source: Avid

Elecard & Triaxes Start 3D Video Project Development

Triaxes was founded in 2004 and works in 3D-visualization area. Main product of Triaxes is 3DMasterKit Creative Studio - software package for creating stereo and flip pictures using lenticular technology.

Using Triaxes 3DMasterKit application one can create 3D-photo out of two or more frames (sequence of pictures of the same scene shot from slightly different position). The multi-frame 3D sequence is used for making auto-stereoscopic lenticular photos for viewing without glasses.

Using Triaxes StereoTracer application one can generate set of multi-aspect frames out of just one original picture. StereoTracer uses grayscale helper image named depth-map or disparity map; bright areas of depth-map show foreground objects in original picture, dark areas - background.

New feature of StereoTracer 3.5 (will be released at the end of September 2008) is depth-map generation wizard: one can easily create depth-map out of stereo pair. Based on a pair of photos StereoTracer algorithm automatically generates depth-map:

Left image


Right image


Automatically generated depth-map

Then the original image and depth-map are used for rendering the multi-view sequence of frames for auto-stereoscopic visualization.


Triaxes StereoTracer

Triaxes & Elecard are going to use algorithm of creating depth-map out of stereo pair in 3D-video project. A lot of cinema studios captured movies in 3D-video format as stereo pair (for each frame we store 2 images, which show the same scene from different aspects).

We believe that so-called 2D+Z format (original frame + depth map) has the following advantages:
- Backward compatibility
2D+Z video can be easily used to play generic flat video (just ignore Z-frame).

- High compression
One true-color original image + grayscale depth-map require less space and can be compressed better than two true-color frames of stereo pair.

- Flexibility
Using depth-map one can generate as many frames as it is required by certain visualization device (two frames for viewing through anaglyph or polarization glasses, or many in-between frames for lenticular 3D monitors like Phillips WOWvx). Moreover, we can generate multi-aspect frames using different parallax to fit size of monitor and distance to viewer.

- Hardware support
Phillips WOWvx 3D-monitor supports 2D+Z format.

3D video project includes following items:
- 3D-video codecs based on MPEG-2 and MPEG-4 (AVC) standards.
We plan to modify Elecard codecs in order to handle with additional 3D data. Also 3D video player will be developed.

- 3D-video converter.
We plan to use the developed algorithms in software for conversion generic flat movies (2D) into 3D and 2D+Z formats of stereoscopic visualization.

- IPTV services for 3D-video.
We plan to integrate of the 3D video content with IPTV system, VOD servers and players developed by Elecard. Elecard provides a firmware solution SIGMA iTV for IPTV. Solution comprises CodecWorks AVC/H.264, XStreamer DVB-IP streamers and IP-DVB incapsulators, V-Cinema VoD and TimeShift servers as well as a line of iTelec STB set-top boxes. More detailed info can be found here.

We are ready for cooperation with hardware vendors and software developers. Also we are open to funding this project. If you have any questions or would like to cooperate with us, feel free to e-mail here.

TDVision Systems

TDVision Systems makes the world's only 2D/3D compatible stereoscopic HD3D video codec (TDVCodec). This format is compatible with MPEG-2, MPEG-4, AVC, and VC-1. This format works on all legacy display devices in 3D and all 3D display devices in 3D including DLP, LCD, Plasma, and Laser. This format works off of a single MPEG file meaning that a single Blu-ray disc or video file can work in 1080p 3D on all 3D display devices. If you pop one of our Blu-rays in a standard player it will play in 2D. We require a firmware update and voila you can view in 3D. Most newer Blu-ray players can have their firmware updated either through ethernet port in the back or a cd-rom burn.

The firmware update should enable all popular 3D@Home TV solutions including checkerboard and xpol among others. As for dual projection, you may be better off using a TDVision enabled file on a PC. You shouldn't need a separate firmware for each display type.

What are our major advantages over side/side, over/under, and checkerboard formats?
- No chip required!
- Multi Device Support
- Legacy 2D playback support

We work over IPTV, Cable, Satellite, and ATSC. There is also a stereoscopic compression in our format which takes advantage of redundancies between the left and right streams. We are fully patented and have been for years. We are members of SMPTE, ATSC, 3D@Home, DVB, CEA and other task forces releated to S-3D in the home. We also make a camera, virtual environment, and gaming tools.

Dual Projection works wonderfully with our format. We have tested in multiple dual projection systems including our dual input TDVisor. We have tested on dual projectors at 1080p 60hz. There is no problem at all.

Since our solution is MPEG compatible it is able to run off Blu-ray, DVD, Standard PC video files, broadcast streams and more. For example a TDVision video file is indistinguishable from any MPEG-2, AVC or VC-1 file. When you play one of our files in Windows Media Player it will play in 1080p 2D. If you update your PC decoder with our decoder profile for PC you will be able to see the same file in 3D (DejaView).

We are in production of a realtime encoder for 3D broadcast or digital cinema contribution (live 3D alternative content in digital theaters for instance). Our format can be broadcast over cable, satellite, and ATSC with no impact on the user. This means that unlike other formats you can watch the same channel on existing TV sets in 2D as you would with a 3D ready TV set in 3D. This lessens confusion and allows compatibility. Much like the transition from black and white to color.

Existing 3D Formats:
Side by Side - This is an image format where the left and right views are squeezed side-by-side in a single 1080 frame container. This means that you have a 1080p frame with two half resolution view images. These images then require a chip to process and interpolate the images by stretching them out and interpolating (inventing) half the pixels. This system is not compatible with 2D, you will see a side by side image on any 2D player, this system requires a chip to process the frame, this chip must be embedded in the television. This system also cuts resolution completely in half. If you consider using a row interleaved LCD Monitor this means that the effective resolution per eye is 960x540. Not to mention all the decompression artifacts.

- Depth Map - The system is geared towards autostereoscopic screens. We don't believe those are ready for prime time yet in the home. 2D+Depth uses a 256 bit color greyscale to represent depth. The issue here is the world has more than 256 "grades" of depth in any given scene. 2D+Depth is greating a depth map which is analogous to robot-vision or giving a z co-ordinate to every pixel. We prefer to let the brain do the work on a visual stereoscopic level rather than assigning depth by a robotic process. It's more natural and it looks way better.

- Multi-view Video Coding (MVC) - Another process that originated in the ISO/JVT as an add-on to H.264. This process has not been implemented yet, is specific to H.264 and implements methods TDVision has been using (and patented) since 2003.

By Ethan Schur, Director of Marketing for TDVision, from 3DTV Group discussions.

Microsoft Silverlight will Support H.264 and AAC

At IBC 2008 Microsoft will be demonstrating a technology preview of H.264 video and Advanced Audio Coding (AAC) audio playback support in Silverlight, and H.264 authoring using Microsoft Expression Encoder and Windows Server 2008 for delivery. Until now, Silverlight has supported the SMPTE VC-1 and Windows Media formats, as well as MP3 for audio.

"We’ve always wanted Silverlight to support a variety of formats, so today we’re announcing that H.264 and AAC support will be available in a future version of Silverlight, which will offer content owners greater flexibility and choice to deliver video and audio" said Scott Guthrie, corporate vice president of the Developer Division at Microsoft.

Microsoft Silverlight is a cross-browser, cross-platform, and cross-device plug-in for delivering the next generation of .NET based media experiences and rich interactive applications for the Web.

Source: Microsoft

Innobits Presents Video Purifier at IBC

At IBC 2008, Innobits AB presents Video Purifier - a totally new way of detecting and removing contaminations in videos. Contaminations, or noise, are defined as dithering artifacts, unwanted video noise and unpleasent signatures from filtering processing. Innobits Video Purifier removes only noise that shouldn’t be in the video in the first place, which means that animated noise is not touched. Also, Innobits Video Purifier does not “smear out” the noise or put any “new” pixels into the video - it simply uses already existing pixels.

Innobits Video Purifier is a stand-alone software to use together with any other type of imaging/video editing software e.g. Final Cut Pro, Adobe products etc.

The algorithm used in Innobits Video Purifier is basically the same as in Innobits MPEG2 Encoder BitVice DVNC (Digital Video Noise Canceller), but Innobits has developed it further. There is a totally new thinking in the Graphical User Interface, making it really easy to learn and use the product. The user will have careful control of what is to be processed, execution is fast and - very important - the range of application is broad, meaning that Video Purifier can be used in and for different situations, e.g.: Removing contaminations before editing/cutting videos, Removing contaminations after editing/cutting and Restoration of motion pictures.

Innobits Video Purifier will be available for Mac and PC and can process all frame rates and sizes (SD, HD etc). Systems requirements: Mac OS X - Intel/PPC, QuickTime 7. Also available for MS Windows. Planned release date is end of September 2008.

Source: BroadcastBuyer

intoPIX Presents its New Range of JPEG 2000 Mathematically Lossless IP-Cores

intoPIX, the leader in JPEG 2000 solutions presents its new Mathematically Lossless family of encoders and decoders.

Keeping the highest image quality is the priority in Production and Archiving. This has always been accomplished using raw or uncompressed formats. However, our digital era is associating this need with an additional issue: increased resolution, frame rates and quality are making bandwidth and storage needs skyrocket. Cutting them in half or even by three while keeping every bit of information unaltered is now possible with intoPIX’s new range of Mathematically Lossless hardware codecs.

The M-Lossless family is able to process 10, 12 and up to 16 color bit depth, HD 1080 resolutions up to 60p and DCI 2K and 4K compliant formats in real-time, keeping bit-to-bit reversibility.

During IBC, a complete JPEG 2000 encoding-decoding chain will be demonstrated at our booth (10.D.29), displaying several compression ratios up to Mathematically Lossless.